Rice and Webber's "Joseph..." at Hale Centre Theatre

Last month, we saw a tour at Gammage do a big-bigger-hugest production of Joseph and the Amazing Technicolor Dreamcoat by sacrificing the script’s overriding sweet for overwhelming, energetic, and costly-ticket-justifying. This month, we have Joseph done right, minus the endless reprises (though the ill-advised “Mega Mix” curtain call regrettably remains), the cast on Red Bull, and the heartlessness. Hale Centre Theatre is nothing if not folksy, and following up their wonderful Oklahoma! last season and their Fiddler this comes a Joseph that is clever, unpolished, and a whole lot more loveable. From a talented husband and wife team as Joseph and the Narrator accordingly to a spunky and charming cast, Production Director David Dietlein and Choreographer/Stage Director Cambrian James revel in the community, which is always a better choice when mounting a slight chamber musical.

They still have a lot of energy, but it isn’t used to project professionalism. This cast of 27 invests most every song with the kind of enthusiasm one has come to expect from this happy-to-please company. While the choreography is a bit unfocused and is sometimes one step above the actors abilities, and the singing talent is not always consistent from performer to performer, there are so many great choices and a surprisingly amazing technical element that make it easy to recommend this production. Linsey and Tyler Maxson are the cutest couple. Linsey is a beautiful singer with a commanding stage presence, while hunky Tyler fills the role of Joseph with earnestness, a strong (though sometimes not strong on the diction) singing voice, and easy movement. When Linsey belts “Pharaoh Story” and Tyler emotes a fog-shrouded “Close Every Door,” they prove real finds for this company.

Dorman Smith is cute as Jacob and Potiphar, but his voice isn’t in the ranges of both characters. Kendra Clement’s Mrs. Potiphar is as sexy as this upright company will allow and a fantastic dancer. And then there’s Jeffry Walker’s Pharaoh in a role that he wears as naturally as a cape and a tight pair of pants. The Brothers ensemble is full of energy, even if they are a mixed bag running through James’ choreography. The best thing to say about them, though, is that they work well as a unit, one where even the soloists (Patrick Salazar, Nick Lorenzini, and Sam Blackham) pop out for their successful moments and then naturally blend back in. The same can be said about the wives, who are a better group of dancers and strong singers whose greatest problem is more about synchronization than ability.

Sandy Bishop and Corrin Dietlein have done a great job creating the many costumes to suit the themes of each song, even the Mega Mix. John Autore’s set totally immerses the audience in a slightly whacky old testament world and utilizes the space better than I’ve seen it done before. David Dietlein and John Favreau’s lighting is outstanding, though pervasive problems with microphones made Michael Bryce’s excelent soundtrack overwhelm the singers at several points.

With the last three musicals as bellwethers, HCT is starting to look like the go-to company for consistent, earnest, and damned fun musicals. I’m glad that the Dietleins are thinking grander, yet still finding a way to keep it folksy.